As curators of Everything Bends, our goal is to achieve a better understanding of the how improvisation might work in an interdisciplinary context. In order to do so, we hope to arrive at some responses (if not outright answers) to certain questions. What, from the artist’s point-of-view, is essential in improvisation? How can artists, writers, musicians, etc. make use of these essentials in their own practice? Most crucially, how can an improvisatory bent find expression in a discipline or metier that otherwise appears to be unaccommodating? Specifically, what is uniquely improvisatory in acts of reading and writing?

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